Zak Forsman

The only work I've gotten via social media is making DCPs for indie filmmakers. But that doesn't exactly pay the bills. That's more for what my dad used to call "walkin' around money." My bread and butter is cutting featurettes and other marketing content for the major studios. And those jobs come from real life relationships. That being said, I've somehow put together 15,000+ film-industry related followers across FB, twitter and IG. Not a ton, but it has raised my profile enough that when I bring a film to a distributor, they already know who I am. And I think that helps curtail any lowball offers or shady practices, i assume because they know I have an audience -- not that I would wield my social media presence as a weapon, but you know. To me, this question boils down to "do you want a fighting chance to have people to see your work?" and I do. An active social media presence is not the only a powerful component to achieve that.

The only work I've gotten via social media is making DCPs for indie filmmakers. But that doesn't exactly pay the bills. That's more for what my dad used to call "walkin' around money." My bread and butter is cutting featurettes and other marketing content for the major studios. And those jobs come from real life relationships. That being said, I've somehow put together 15,000+ film-industry related followers across FB, twitter and IG. Not a ton, but it has raised my profile enough that when I bring a film to a distributor, they already know who I am. And I think that helps curtail any lowball offers or shady practices, i assume because they know I have an audience -- not that I would wield my social media presence as a weapon, but you know. To me, this question boils down to "do you want a fighting chance to have people to see your work?" and I do. An active social media presence is not the only a powerful component to achieve that.

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

Shot some this evening. 5D mk3, Contax Zeiss 50mm with oval aperture mod.
 

Shot some this evening. 5D mk3, Contax Zeiss 50mm with oval aperture mod.
 

Shot some this evening. 5D mk3, Contax Zeiss 50mm with oval aperture mod.
 

yeah, exactly. Raw Magic and into Resolve. Although i did try that Footage app that guy is developing for mac users. Seems pretty good. And it can handle the new lossless raw from ML, unlike Raw Magic. No color grading on these. 4500K. BMD Film to BMPC v2 LUT. 

Shot some this evening. 5D mk3, Contax Zeiss 50mm with oval aperture mod.
 

Honored Nikkor, you are in luck. I have created a LUT to use on all cameras footages that will result in excellent quality in class of Arri Alexa. Unfortunately my Paypal is not available due to the government of my country, but I will email the LUT to you personally. Price is normally one hundred US dollar, but for you honored member I give 50% discount so price is only $40!! Pleaae do not hesitate to PM me for my home address here in Cairo to send monies. Very best filmmaker wishes, Hakuna matata

No it doesn't.
A LUT doesn't know if shots were taken in a forest.

Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm.


oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens. 

I shot the full 1920x1080 frame, used my SmallHD monitor with a 2.39:1 overlay to compose with. this way I can tweak the framing higher or lower in post before cropping the final 2.39:1 frame.
I prefer 5D + ML Raw overall -- things I like better than the BMD sensors are (1) full frame, full frame, full frame, and (2) the BMD sensors in the Pocket, Micro & BMCC all struggle to maintain good color rendition under tungsten light. While the Canon still looks fantastic.
Now, if I could just get 48 or 60fps working...

I shot the full 1920x1080 frame, used my SmallHD monitor with a 2.39:1 overlay to compose with. this way I can tweak the framing higher or lower in post before cropping the final 2.39:1 frame.
I prefer 5D + ML Raw overall -- things I like better than the BMD sensors are (1) full frame, full frame, full frame, and (2) the BMD sensors in the Pocket, Micro & BMCC all struggle to maintain good color rendition under tungsten light. While the Canon still looks fantastic.
Now, if I could just get 48 or 60fps working...

I know I am in the minority here, but AC or DIT duties do not exist in any kind of production I am currently working on and to be honest, the idea that people like me, with all of the available equipment to make a professional looking movie, at our fingerprints, are treating their productions as if they were filmed on a Hollywood lot is completely nonsensical to me. But whatever, not really my place to judge other people's scenarios.  
But again I'm a hobbyist that works with friends and first time actors. The goal is to get in, get the shot and move on... a 3:1 shot ratio at most. I have enough cards to get an hours worth of footage and it's highly unlikely I will ever need anymore than that on a day's shoot.
I get why Raw would not be possible on low budget films when you have a Line Producer breathing down your neck, and every minute is scrutinized before lunch is called... but I don't have those limitations.
But I also see your point for my scenario where a simple production workflow could be more beneficial... it all depends on the project and schedule.
So to get back on topic, I still believe with the rumored cost of $6500 for this cineX Panny camera, it should output Raw, especially when every other camera, at that price range, shoots external or internal Raw. Just my opinion of course. 

im kind of glad they dont listen lol. its for the cool kids ?

Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm.


oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens. 

Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm.


oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens. 

Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm.


oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens. 

Here's a nice little video I shot yesterday when I was hired to make a portret of a family. This is only the intro part of the film.
All shot in 8-bit. Most of it in Full HD. I personally really like the colors of this cam and it's very gradable.
 
 

It was sarcasm.

I think one of the biggest misconceptions about 5D3 ML Raw is that it is difficult to shoot with, but in reality, once everything is set up, it is the simplest camera to operate. And even though there are a few extra post steps, color work is pretty simple and straightforward as well. 

Sorry, but I wouldn't exactly second that @Zak Forsman too : )
https://www.youtube.com/watch?v=ScC8wlxGNIQ&lc=z13xttyhdpedf1md023ihv5qgoqhco4s.1494023396652296
18-35mm = 23,04 - 44,80 FF 35mm equivalent on XL (0.64x) and 25,56 - 49,70 (0.71x) on Ultra versions.
 
:-)